Efraín Andrade Viteri (May 15, 1920 – July 1, 1997) was an Ecuadorian painter known as "The Painter of the Négritude Esmeraldeña".
Andrade pioneered the arts in Esmeraldas the mid-twentieth century, where he brought out the culture of the people of African descent through his artwork. He marked an era in the culture of Esmeraldas as the first painter to present an exhibition in June 1951 at Casa de la Cultura Benjamín Carrión. The work was highly admired by the audience and media. At a young age, Andrade mastered the pen and ink technique. The drawings and portraits are the ultimate representation of his artistic talent. One can see how the subjects take on new life in the exquisite delicacy of his pen strokes.
During the 1950s and 1960s most of his artwork was acquired by foreigners temporarily living in Esmeraldas, who later took the paintings to their own countries such as Sweden, Norway, France, the Netherlands and the United States. The greatest legacy of Andrade is the 2.5m x 15m Al Footbolista Mural on the façade of the Folke Anderson Stadium, which he designed and built in the mid-fifties.
Biography
Early life
Efraín Andrade Viteri was born May 15, 1920, in the city of Loja, Ecuador. The eldest of Mayor Jaime Humberto Andrade Arteaga from Chone, Manabí, and Elina Josefa Viteri Aymar from Zaruma, El Oro. Due to his father's military career, the family lived in different cities the first ten years of Andrade's life. He went to elementary school in Portoviejo and Guayaquil, and in 1930 the family moved back to Quito where he continued his middle and high school studies, first at the Pensionado Mercedario, then Anexa Leopoldo Chávez del Normal Montalvo and Mejia High School.
Career
Andrade exhibited a vocation for painting early in life, and while attending high school designed and painted men's neckties and tagua-buttons for export to Italy. He studied painting and architecture at the Escuela de Bellas Artes (School of Fine Arts) from 1937 to 1941. During this time he developed good friendships with Eduardo Kingman, Cesar Bravomalo and Oswaldo Guayasamín.
In 1941, Andrade moved to Manabí with the sole purpose of painting, and by the end of this year he had completed a collection of oil paintings and some portraits utilizing his already mastered “pen and ink” technique. He presented his first exhibition in Portoviejo, Manabí at Casa de la Cultura and soon after he returned to Quito to work along with his friend Dr. Humberto Albornoz at the “Plan Regulador” in the development of the first formal city planning project of the city of Quito.
Andrade moved to Bogotá, Colombia in 1947 where he worked as commercial craft man and enjoyed the company of his good friend and artist César Bravomalo, who had also moved to Bogotá and made time to maintain his passion for painting. In September of that year, Andrade arranged an exhibition at the Dirección Cultural y Bellas Artes de Bogotá (Bogotá's Fine Art Board). The pen and ink portraits and drawings exhibited earned him a highly positive review from critic Ricardo Ortiz McCormick, Academic, published in El Tiempo on September 3, 1947.
His concern with social issues were expressed in his collection of photographs taken in the Lima and Cuzco areas where he traveled during 1948 with friend Luis Navarrete, and where he developed friendship with Dr. Agustin Vera Loor. In Cuzco he expressed his curiosity for the history behind the ancient ruins of Machu Picchu, then he spent time making the ruins his “still-models” and playing with light and contrast in his photography.
In 1950 in Quito, Andrade met and married Flor de Maria Vásquez Tello, born in Manta, January 14, 1922, daughter of Octavio Vásquez Ruperti, from Manta, and Jesus Tello Arellano, from Esmeraldas.
Efraín and Flor de María settled in Esmeraldas, a then remote province bordering the Pacific Ocean to the west and Colombia to the north. Andrade felt in love with the green province from the first day he set foot on it. They had four children, Jorge Ernesto, Flor de Maria, Josefa Patricia and Gloria Teresa.
After establishing himself in Esmeraldas, Andrade developed friendship with owner of Astral Co., Folke Anderson admired his artwork and enjoyed classic music like Efraín. Folke Anderson financed the construction of a stadium to donate to Esmeraldas and appointed Andrade to design and build a mural for the frontispiece of the stadium. The eleven figures that make up the mural represent the people of Esmeraldas' passion for soccer.